>Some teachers use the term falsetto in the female voice to describe a ct
domninated production which lacks medial compression and cannot connect into
chest without an audible shift. In this production only the outside edges
are vibrating. This production is very breathy and weak and has a different
timbre to it than a head voice that can blend back down into chest.
>
This has always been my understanding of true, pure falsetto, too.
Interestingly, male and female falsetto occur on the exact same notes, exact
same octave.
It seems that Mary's teacher may be trying to tell her that she has a very weak
chest register. That the sound she is using is dominantly falsetto or
falsetto-based, with hardly any ability to increase intensity, especially in the
low g through middle e-f range. And when there is an absence of pure,
functional chest voice, there is a lack of expressive and flexible bottom,
middle, and top notes...at least to the point where the sound is not viable for
singing long-term.
Look at Cornelius Reid's books. There's a wealth of info on understanding these
principles.
Nick Scholl
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